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in
Tenkyuin (a sub-temple of Myoshinji Temple). 17th century. Four walls with twenty sliding doors; East 4 panels: 190 by 141.7 centimetres (74.8 in × 55.8 in), West 4 panels: 189.5 by 141.2 centimetres (74.6 in × 55.6 in), South 4 panels: 178.8 by 83.6 centimetres
218:, thus allowing him to align the Kano school with the second phase of painting within the Edo period. This phase of painting represented a more intellectual approach to pictorial content on the part of the artist—and often commissioner—whether it be reworking traditional
193:, he continued to champion the dramatic style of his mentor, Eitoku. Though he retreated slightly from the dynamic imagery, substituting first a naturalism of expression and then a quality of elegant ornamentation, he skill pushed the revitalization of
140:—original no longer surviving), reconstruction of Imperial imagery, and paintings for Buddhist temples and Shinto Shrines all around Kyoto. Though many of his primary commissions were in Kyoto at the time, most of the Kanō artists moved to
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through the gold-and-blue technique. However, like most Kanō artists of the period, he was still a master of painting in a variety of styles ranging from large works for decorating castles (like the two illustrated) to smaller monochrome
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109:, in the 1570s. While in Hideyoshi's service, Sanraku's talent shined through and led to Hideyoshi introducing the young boy to the famed Kano artist school head artist of the time,
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theme or interpreting complex and unfamiliar subjects from
Chinese literature. This helped to reshape Japanese's artistic identity after being severely shaken during the war ridden
117:. Originally named Kanō Mitsuyori, he later changed his name to avoid political persecution after the fall of the Toyotomi clan. He also went on to train and work closely with
78:. Sanraku's works combine the forceful quality of Momoyama work with the tranquil depiction of nature, and they have a more refined use of color typical of the
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Jokanninoma room of Tenkyuin Temple (a sub-temple of Myoshinji Temple). 17th Century. Four walls with eight doors and 18 panels, color and
152:, painted in the same style, but is better known for a biographical history of Japanese painting, which gave the Kanō school pride of place.
669:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Kanō Sanraku
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144:(often after a summons from the shōgun), but he continued to adhere to the brightly coloured style of the
74:. He was the sixth-generation member of the famous Kanō family of painters that served the Japanese
442:. The Dolphin history of painting. Translated by German Erich Wolf. Thames and Hudson. p. 117.
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The Great Japan
Exhibition: Art of the Edo Period 1600–1868
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After Eitoku's death (1590), Sanraku became head of the
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Paine, Robert Treat, in: Paine, R. T. & Soper A,
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Jōhei, Sasaki (1984). "The Era of the Kanō School".
189:Considered one of the most talented artists of the
318:The Three Laughing Men of the Valley of the Tiger
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438:Hetl-Kuntze, H. (1969). Hans L. C. Jaffé (ed.).
313:Tenkyuin Temple, a subtemple of Myoshinji Temple
246:. Early 17th century. Color and ink on paper,
94:who flourished circa 1570, and he was born in
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667:Momoyama, Japanese Art in the Age of Grandeur
454:"Kanō Sanraku (Japanese painter, 1559–1635)"
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602:10.1017/s0026749x00016358
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567:. Prentice Hall Art.
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517:www.britannica.com
179:Emperor Go-Mizunoo
107:Toyotomi Hideyoshi
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683:1559 births
191:Kanō school
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111:Kanō Eitoku
677:Categories
644:0140561080
629:References
622:Paine, 208
523:2023-12-21
498:2007-11-14
464:2007-11-14
80:Edo period
322:India ink
150:Kanō Einō
68:Mitsuyori
652:, 1981,
220:yamato-e
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409:Notes
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244:byōbu
230:Works
185:Style
100:Kyoto
64:Shūri
49:狩野 山楽
640:ISBN
569:ISBN
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